A well-known actor who portrayed Bayek in Assassin’s Creed Origins and who appeared as Alina in the second season of House of the Dragon recently spoke about the state of the game industry. The discussion highlighted a tension between monetization and artistry, and it underscored a desire to see more emphasis on personal expression, storytelling, and shared play in both Canadian and American markets.
“The one thing I’ve learned about the industry globally is that gaming is still seen primarily as a business and not an art form.” — interview
“There’s a reason why many large companies choose a service model. They’re trying to release the next one Fortnite because it will make them more money.” — interview
“But games shouldn’t be about money. They should be about self-expression, fun, storytelling, connection and interactivity, because that’s where film and television excel.” — interview
The discussion also noted that many people in the film industry still don’t know much about games.
“The first thing they think of when it comes to games is FIFA. One of the things that really surprised me on the set of House of the Dragon is that you can say, ‘I play games’ or ‘I design games,’ and they don’t even know what that means. And then you open up a whole new world for them.” — interview
This spring, the artist and his studio Surgent released a Metroidvania titled Stories from Kenzera: ZAU, a project that drew praise from players and critics alike for its craftsmanship and ambition.
Players and critics greeted it warmly, praising the game’s pacing, inventive level design, and its ability to blend retro-inspired mechanics with contemporary storytelling nuances.
— He’s naked now: the fog from the Silent Hill 2 remake has disappeared.
The release serves as a case study in how independent creators can pursue artful design outside the traditional publisher system and still reach broad audiences across North America.
In Canada and the United States, fans are increasingly embracing experiences that put narrative, atmosphere, and character first, showing a growing appetite for games that feel like cinematic journeys.
The example from Surgent illustrates a path where creators retain control, experiment boldly, and connect with diverse communities through interactive storytelling.
As conversations about the future of gaming evolve, more developers are likely to explore hybrid approaches that combine filmic craft with engaging, player-driven gameplay.
These debates are shaping a new perception of games as cultural works and may influence publishers to reconsider monetization strategies in the months ahead.